"The quartet of soloists for this work was [...] led by the sensational Maximilian Schmitt whose ripe, golden tenor so impressed me, both in Ticciati’s Don Giovanni and in last year’s opening concert."
Edinburgh Festival, Bruckner Te Deum with Philippe Herreweghe © seenandheard-international.com Simon Thompson – 21 Aug. 2012
Maximilian Schmitt discovered his love for music at a young age with the Regensburger Domspatzen (the cathedral boys’ choir). From 1999 he studied song with Professor Anke Eggers at the Berlin University of Performing Arts. In 2005 and 2006 he was a member of the Young Ensemble of the Bavarian State Opera in Munich.
Whilst he was still in Munich, Maximilian Schmitt had his debut at the Salzburger Landestheater as Tamino in The Magic Flute, before he committed himself to the ensemble of the Mannheimer Nationaltheater for four years. There he could be seen in parts including David/Meistersinger, Lenski/Eugen Onegin and lyrical Mozart parts such as Tamino, Don Ottavio, Belmonte or Ferrando. In the summer of 2012 Maximilian Schmitt ended his successful time at Mannheim with the title role of Mozart’s La Clemenza di Tito. Maximilian Schmitt could be heard in theatrical opera performances with the Scottish Chamber Orchestra under Robin Ticciati (2010 as Don Ottavio/Don Giovanni, 2012 as Ferrando in Così fan tutte) and with the West German Radio Symphony Orchestra in Monteverdi’s Il ritorno di Ulisse in patria as Telemacho. At the end of 2012 he had his debut at the Amsterdam Opera as Tamino in the celebrated new production by Simon McBurney, directed by Marc Albrecht, which will run again in 2015 thanks to popular demand. In the 2013/14 season he can be heard in the same role in Bregenz, as well as the Steersman in The Flying Dutchman in Geneva. He will end the season by setting a new direction with his debut as Leukippos in Richard Strauss‘ Daphne in Toulouse.
Next to his passion for opera, he puts a lot of dedication to concert singing. His broad repertoire reaches from Monteverdi over Mozart to Mendelssohn, and he has been invited by conductors such as Franz Welser-Möst, Andrew Manze, Daniel Harding, Thomas Hengelbrock, Fabio Luisi, Philippe Herreweghe, Marcus Creed, Trevor Pinnock, René Jacobs, Robin Ticciati, and orchestras such as the Akademie für Alte Musik Berlin, Philharmonia Zürich, the Kammerorchester Basel, the Bavarian Radio and Mid German Radio Symphony Orchestras, the Wiener Symphoniker, the Cleveland Orchestra, the Swedish Radio Symphony Orchestra and the Gewandhausorchester Leipzig.
One role that is particularly close to Maximilian Schmitt’s heart is that of the Narrator in Schumann’s Paradise and the Peri, which he brought to meaningful life at performances in Barcelona, in a theatrical version in Mannheim, at the Edinburgh Festival under Roger Norrington as well as most recently at the Tonhalle in Zurich. He is a particularly regular visitor at the various Parisian orchestras (Orchestre de Paris/Jesus Lopez-Cobos and Bertrand de Billy, Ensemble orchestral de Paris/Reinhard Goebel, Orchestre national de France/ Andres Orozco-Estrada). A close collaboration links him to Philippe Herreweghe, with whom he can display the broad scope of his repertoire, be it as Evangelist in Bach’s Passions, in Joseph Haydn’s oratorios, in Dvorak’s Stabat mater or Weill’s Berliner Requiem. He can be seen again this season under Herreweghe’s direction performing Haydn’s The Creation and Dvorak’s Requiem. Following his collaboration with Claudio Abbado at the Lucerne Festival, he has been invited by Abbado to perform in Mendelssohn’s Symphony No 2 with the Accademia di Santa Cecilia in Rome in autumn 2013. Further highlights of the current season include concerts with the Bavarian Radio Symphony Orchestra (Welser-Möst), the Orchestre de la Suisse romande, the Gürzenich-Orchester under Markus Stenz (Beethoven’s 9th Symphony) as well as the Nederlands Philharmonisch Orkest in Utrecht, where he will perform Beethoven’s Missa solemnis for the first time. He has close connections to the West German Radio Symphony Orchestra, with whom he can be seen performing arias with the soprano Christiane Karg under Bernard Labadie, and with whom he will record a CD of Romantic Arias together with Patrick Lange for the Label Oehms classics in 2015.
Recitals are just as important in Maximilian Schmitt’s diary, which he performs with Gerold Huber. The performance of Schubert’s Schöne Müllerin took the duo to his native city of Regensburg, to Munich as well as to the recital series at the Amsterdam Concertgebouw. In 2012 he had guest performances with Schumann at the Heidelberg Spring Festival and in 2013 with Brahms, Schubert and Hindemith and at the Philharmonie in Cologne. Future engagements will take him to the Schubertiade Vilabertran, back to Heidelberg, to the London Wigmore Hall (this time with Justus Zeyen at the piano), to Landshut and to Neuss. Their CD of Lieder has been released under the Oehms classics label: following their debut album ‘Träumend wandle ich bei Tag’ (Robert and Clara Schumann), they released Schubert’s Die schöne Müllerin in 2013 - which Maximilian Schmitt premiered to much acclaim at the Schubertiade Schwarzenburg, as always accompanied by Gerold Huber at the piano.
In addition to the recordings of Lieder, Maximilian Schmitt can be heard on CD with Haydn’s The Creation (Freiburger Barockorchester/René Jacobs – harmonia mundi France), and as aria tenor in Bach’s St Matthew Passion (Gewandhausorchester/Riccardo Chailly – DECCA). There is also a DVD recording of Bach’s Christmas Oratorio (Akademie für Alte Musik Berlin/Bavarian Radio Choir/Peter Dijkstra – BR Klassik label). The CD Trauermusik der Bach-Söhne with harmonia mundi France received several awards. Maximilian Schmitt can be heard as Christian Gerhaher’s tenor partner on Gerhaher’s first orchestral CD ‘Romantic Arias’ (Bavarian Radio Symphony Orchestra/ Daniel Harding - Sony).
2013/2014 - (July 2013) Please only use this biography and destroy any previously dated material. Any amendments or cuts need the consent of KuenstlerSekretariat am Gasteig.